Preservation of

PHOTOGRAPHIC
MATERIAL
 Preservation of photographic material

Introduction
Photographs are housed in libraries, archives and museums all over the world.
Practical photographic conservation treatment provides an option for photographs
that are damaged or have deteriorated. However, it is also possible to prolong the
life of a photograph through good preservation practices in handling, housekeeping
and storage. This booklet describes the most common historical photographic
processes, outlines the causes of deterioration and provides guidelines on good
preservation practice. It is aimed at people working or volunteering in libraries,
archives and museums whose responsibilities include working with photographic
collections. Whilst the booklet focuses on historic black and white or monochrome
photographs, much of the information is applicable to colour photographs and other
imaging materials such as microfilm, x-rays and motion picture film.

What is a photograph?
A photograph is an image produced by the action of light. The light initiates a
chemical reaction which leads to a long-lasting chemical change in a light-sensitive
compound bound to a support. The support is usually made of paper, plastic, glass,
or metal, but is sometimes made from other materials such as leather or cloth.
Photographic images are usually continuous in tone, meaning changes in shading
between light and dark are gradual and no patterns are seen, such as the regularly
spaced dots or grids found in photomechanical printing processes.

History
Photography was officially invented in 1839 with the public announcement of Louis
Jacques Mandé Daguerre’s daguerreotype process in France and William Henry
Fox Talbot’s photogenic drawing process in England. The Daguerreotype process
relied on a sensitised silver coated copper plate which was exposed in a camera and
after processing became a unique positive. W H F Talbot’s process produced a silver
image on a paper support. However W H F Talbot, together with Sir John Herschel,
very quickly realised the importance of having a negative (where light and dark
Author Susie Clark, ACR Accredited Photographic Conservator areas are reversed) from which one could make multiple positives. In 1840
W H F Talbot invented the first negative-positive process. He also introduced the use
ISBN 978 0 7123 5011 2 of sodium thiosulphate as ‘fix’ which removed the unexposed silver salts after the
image was produced so that the image did not continue to blacken all over when
First published August 1999 displayed. The chemicals and the essence of these processes continue to be used
Revised October 2009 in black and white photography to the present day, even in some types of digitally
Revised February 2016
Revised March 2021 generated prints. For this reason, W H F Talbot can be said to have laid many of the
foundations of modern photography.
Front cover Daguerreotype portrait of William Henry Fox Talbot, Antoine François Jean Claudet.
Shelf mark, Talbot Photo 4(2)
© British Library Board
In the following decades many new processes appeared and the mass photography
market grew rapidly. Towards the end of the 19th century and in the early 20th
century a number of processes were introduced with the purpose of producing
longer lasting images or more artistic effects. These processes used metals other
than silver, or pigments. They are often referred to as ‘alternative processes’
meaning alternative to mainstream silver processes. At the end of the 19th century
and in the early 20th century, photography became more reliable and consistent.
Emulsions1 were introduced which were sensitive to the whole spectrum of visible
light and printing paper was exposed to negatives in darkrooms rather than in
daylight, producing repeatable results. The first commercial colour process, the
autochrome process appeared in 1904. Throughout the 20th century dye-based
colour photographic processes were developed, expanding our photographic legacy.
The first digital camera appeared in 1981 and by the turn of the 21st century digital
photography had started to generate images produced by other printing methods
not based on light, alongside traditional photographic processes.
Identification of photographic processes
Identification of photographic processes may serve different purposes. It may be
necessary to date a photograph or its subject matter, to authenticate its provenance,
or to determine a possible conservation treatment. The identification of photographs
can be daunting. Throughout the 19th and 20th centuries, many processes appeared
and many passed out of fashion. However, the vast majority of photographs belong
to a relatively small group of common processes, within which many of the same
materials occur repeatedly. Examples of photographs that fall outside this group are
rare. In most historic black and white photographs, the image is made from silver,
but it can also be made using other metals, commonly iron, platinum and palladium,
or from pigments, which were used in the carbon and gum bichromate processes.
Photographic processes can be identified using various methods. Some methods are
only available to experts, but many photographs can be identified with the naked
eye, or low power magnification including hand lenses. Good reference books
and online resources are valuable aids. The table overleaf also provides identifying
features of some of the common processes.
Causes of deterioration
Photographs are particularly vulnerable to physical, chemical and biological damage
and deterioration. Handling, poor quality environments and storage materials all
have an impact on the condition of photographs. Images created through certain
photographic processes are more sensitive than others, but all photographs are
sensitive to poor environmental conditions. High temperature and high relative
humidity (RH) will increase the rate of chemical and physical deterioration, for
example causing tarnishing, fading and discolouration of silver images. Colour
1

Emulsion is the term used to describe the suspension of a light-sensitive compound in a binder e.g. silver
bromide in gelatin.
images may also fade and some early cellulose acetate film supports will break
down. High temperature and low RH can cause cracking and flaking emulsion. High
RH increases the risk of mould growth and insect damage. Light can cause fading,
particularly of cyanotypes2, many chromogenic colour3 images and some silver
images.
Handling
When handling photographs always work on a clean, clear surface of sufficient size.
The area should be cleaned with a dry or lightly dampened cloth first, to remove
particulate dirt which causes scratches and chemical deterioration. (Cleaning agents
should not be used). If necessary, cover the surface with cheap, plain paper, such as
unprinted newspaper, which can be changed as soon as it becomes dirty. Examine
photographs in light which has been ultra-violet filtered.
In order to minimise the risk of damage:
• Photographs should be handled as little as possible.
• Wherever possible provide a copy print or digital access rather than an original
print to reduce the risk of damaging the original. However, care should always
be taken to ensure that the process of copying or scanning the original does not
damage it and some photographs may be too fragile to copy or digitise.
• Supervise anyone who handles photographs, particularly new or untrained
members of staff or users.
• Wash hands before examining photographs. Hands should be clean and free of
lotions and creams. Wearing nitrile gloves is useful for handling dirty containers or
outer coverings. However, particularly if gloves are loose-fitting, their use makes it
hard to judge the condition of material, reduces dexterity and increases the risk of
damage.
• Use two hands to hold the photograph and if possible, support it with a piece of
stiff card, especially if the photograph is fragile or brittle. This will reduce the risk
of physical damage. Avoid touching the image surface.
• Remove envelopes from negatives and not vice versa. If a photograph appears
stuck to its container, do not attempt to remove it.
• Use book supports with photographic albums.
• Do not stack loose prints or glass plate negatives on top of each other or place
anything on top of photographs as this will damage the surface.
• Do not attempt to flatten rolled or curled prints – they may crack and tear.
• Do not use adhesive tapes, staples, pins, metal paper clips or rubber bands.
• Do not eat, drink or smoke near photographs.
• Do not use ink to label a photograph. Use a HB pencil to write on the reverse of
material and do not press hard.
2
Cyanotypes are brilliant blue prints formed from iron salts on paper.
3
Chromogenic images are multicoloured dye images.
Aid to identification of the most common black and white historical
photographic processes and supports
Date of Invention/ Image Emulsion Support Typical Presentation: Identification
Introduction (Period of (if any) Loose(L), Mounted(M),
greatest popularity) Case(C) Framed(F)
Albums(A)
Daguerreotype 1839 (–1850’s) Silver and silver/ mercury _ Silver coated C/F Unique; negative/positive image in raking light
amalgam copper Plate
Photogenic Drawing 1834/1839 (1840’s) Silver (P.O.P.1) _ Paper L Paper fibres visible; sepia – lilac brown
Salted Paper Print 1839 (1840’s–1850’s) Silver (P.O.P) _ Paper L/M/A Paper fibres visible; sepia – reddish brown
Calotype Print 1841 (1840’s–1851) Silver (physically _ Paper L/M/A Paper fibres visible; sepia, but more contrast than above
developed2)
Waxed Paper 1841 (1840’s–1851) Silver (physically _ Paper L Waxed and translucent
Calotype Negative developed
Cyanotype 1842 (1840’s and Iron compounds _ Paper L/A Paper fibres visible; blue colour
1880’s–1890’s)
Wet Collodion 1851 (–1870’s) Silver (physically Collodion Glass L Hand-coated; finger marks in emulsion and varnish at corners of plate; may be
Negative developed) creamy colour in dark areas
Collodion Positive 1852 (–1880’s) Silver (physically Collodion Glass L/F Unique; no negative/positive image in raking light; black backing or ruby glass
developed)
Tintype 1856 (–1930’s) Silver (physically Collodion Iron L/C/F/A (Card Folders) Cased tintypes: test with magnets over cover glass (magnetic field); rust blisters
developed)
Albumen 1850 (–1890’s) Silver (P.O.P.) Albumen Paper L/M/F/A Usually finely crazed emulsion; yellowish sepia; thin paper base; tendency to
curl
Collodio-Chloride 1864 (1880’s–1910’s) Silver (P.O.P.) Collodion Paper L/M/F/A Appears like gelatin P.O.P.
Platinum 1873 (1879–1914) Platinum Paper L/M/F/A Paper fibres visible; degraded transfer image on facing paper; little image
fading
Gum bichromate 1856 (1890’s-1920’s) Pigment Gum arabic Paper L/M/F/A May be glossier in darker areas; may be slight relief in image; pigment particles
visible under low magnification; pigment colour
Carbon print 1855/64 (1868–1940’s) Pigment Gelatin Paper L/M/F/A May be glossier in darker areas; more pronounced relief image; little image
fading; pigment colour
Gelatin dry plate 1871/73 (–1930’s) Silver (chemically Gelatin Glass L Usually non-image strip near border; smooth, even thin coating
negative developed)
Silver gelatin fibre / 1882 (–1960’s) P.O.P.3 Silver (P.O.P. & D.O.P.) Gelatin Paper L/M/F/A Very pronounced tarnish mirror for D.O.P. sometimes
paper based prints 1873 (–1960’s) D.O.P.
Cellulose nitrate 1889 (–1950) Silver (chemically Gelatin Cellulose L/Plastic or paper wallets Sometimes edge printed: “CELLULOSE NITRATE”
developed) nitrate
Cellulose acetate Late 1920’s (to present) Silver (chemically Gelatin Cellulose L/Plastic or paper wallets Sometimes edge printed: “SAFETY”
developed) acetate
Polyester 1940’s/50’s (to present) Silver (chemically Gelatin Polyester L/Plastic or paper wallets Not usually edge printed
developed)
Resin-coated paper 1972 (to present) Silver (chemically Gelatin Polyethylene L/M/F/A Tends to lie flat; more plastic than plain paper supports
developed) coated paper
1
P.O.P. are printed out prints. This means that the sensitised printing paper is exposed, in contact with a 3
D.O.P. are developed out prints. In this case the sensitised printing paper is exposed, (usually under an
negative, to light (usually daylight) until the final image appears. The printing paper is then fixed and enlarger) to artificial light for a shorter period of time than P.O.P. This produces a latent image which is not
washed. There is no development stage. They are usually sepia in colour. visible to the human eye. The printing paper is then placed in a developer until the image appears. The
2
Physically developed images use silver ions from the developer which are deposited on the silver of the silver in the image comes from the sensitised paper itself. After this, the printing paper is placed in a stop
latent image. The silver does not usually come from the photographic emulsion itself, unless it has been bath, fixed and washed. It is much quicker to produce than a P.O.P. and the process is more controlled and
dissolved in the developer solution first. the results more predictable.
Housekeeping
Simple steps can be taken to improve conditions for photographic materials, slow
their deterioration and act as an early warning system if damage is occurring.
• Monitor and control temperature and relative humidity.
• Regularly check for mould, insect or rodent activity and other signs of
deterioration.
• Remove damaged photographs and store separately.
• Keep research and storage areas clean. These areas should be regularly cleaned
using a vacuum with a HEPA (high efficiency particulate air) filter, not swept. Apart
from causing a build-up of surface dirt, dust increases the risk of mould and can
also cause scratches and blemishes on photographs.
• Avoid using household cleaners containing ammonia or chlorine in collection
areas.
• Do not store or place photographs near a heat source such as a hot water pipe, or
hang them above a radiator.
• Do not store or place photographs in direct sunlight. All light sources should be
UV-filtered.
• Do not store photographs in freshly painted rooms or near freshly painted objects
for at least two and preferably four weeks. © Mark H. McCormick Goodhart / Aardenburg Imaging & Archives
• Do not store or place photographs near photocopying machines. They emit ozone
which will damage photographs. The darker grey quadrant abcd defines the physically safe range of temperature
• Avoid using carpets in storage areas. Carpets can harbour insect pests and dirt. and RH for photographs. Outside the quadrant, the dotted line shows the glass
Woollen carpets can emit gaseous compounds of sulphur, which will damage transition temperature (Tg) of gelatin, which varies according to RH. This is the
photographs. temperature at which rapid image degradation is likely to occur. The diagonal
contour lines (1–500) map relative chemical stability. If a photograph is stored in the
Environment environment defined by line 10 it will take 10 years longer to reach the same stage
There are a number of environmental factors that affect photographs: temperature, of chemical deterioration as a photograph stored in the environment defined by line
relative humidity, air purity and light are the most important. 1. Lowering the RH within the quadrant at a fixed temperature will only increase the
chemical stability by a factor of 2–3. However, lowering the temperature at a fixed
Temperature and relative humidity RH can increase the chemical stability by a factor of more than 100. Therefore, the
beneficial effect of dropping the temperature within the quadrant, as opposed to the
Unsuitable temperature and relative humidity (RH) can cause or accelerate physical
relative humidity, even by a small amount, can clearly be seen. There is considerable
and chemical damage. Considerable research has been carried out into the optimum
advantage to be gained by cold storage for more unstable material.
storage environment for photographs. This has resulted in a minimum standard
of a physically safe range of parameters of temperature and RH for photographs,
based on the physical stability of photographs with a gelatin binder. Within these Conservation heating
parameters there are varying degrees of chemical stability. Within the physically safe The above graph has implications for the effectiveness of expenditure in designing
RH range, photographs will not undergo irreversible physical changes e.g. cracking storage. Initially it can be used to select a suitable level of chemical stability for a
emulsions and flaking. This humidity range varies according to temperature, as collection. This is dependent on what is already known about the stability of the
shown in the following diagram. particular photographic materials in the collection and how long the photographs
need to be kept in an acceptable condition. Within the physically safe quadrant it is
easier and more cost effective to achieve the desired chemical stability by allowing
a relatively broad range of relative humidity and narrow range of temperature
(within the physically safe quadrant). However, some historic buildings without
air conditioning tend to be cool but damp, particularly in winter. In such buildings
 heating systems can be activated by relative humidity levels. Collections will benefit
from increased chemical stability as temperatures slowly drop, but if the RH goes
above the physically safe level, the heating comes on and the RH falls to maintain
physically safe levels. This is known as conservation heating.
Environmental targets
There are a number of ISO4 standards that recommend temperature and relative
humidity levels for the long-term storage of specific photographic materials. Whilst
these standards should be consulted, it is acknowledged that they may be difficult
to achieve, especially when institutions hold mixed photographic collections. As
well as summarising the recommendations of these standards, BS ISO 18934:2011
Imaging materials. Multiple media archives. Storage environment describes how
good a particular storage environment is for different types of photographic
material. The four storage environments considered are sub-zero, cold, cool and
room temperature and for each type of material they are categorised as unsuitable,
fair, good or very good. The temperature and RH parameters for each storage
environment are shown below. Whilst unsuitable storage environments should
be avoided it is likely that compromises will have to be made for some types of
material. However, it should help you to decide which types of material would
benefit the most from cold, cool or sub-zero storage.
Temperature RH period for some packaging kits need only be 2–3 hours. It is cost effective to
Sub-zero -20°C – 0°C 30–50 purchase packaging which can be re-used. The process of acclimatising photographs
From BS ISO 18934:2011 Imaging materials.
Cold 0°C – 8°C 30–50
Multiple media archives. Storage environment
Cool 8°C – 16°C 30–50 and later acclimatised from freezer storage to room temperature before opening.
Room 16°C – 23°C 30–50 Frequent periods of use at room temperature involving the removal of an object
The following recommendations are generalisations only and there may be
exceptions. If there are concerns about particular photographs, professional advice
should be sought.
• Generally, photographs on glass or metal supports are best stored at cool
or cold temperatures.
• Cellulose nitrate and cellulose acetate should not be stored above cool
temperatures and it is preferable to keep them in cold or sub-zero conditions.
• Cellulose acetate film based negatives from the 1950’s should be in sub-zero
freezer storage.
• Later black and white film base from approximately the 1980’s onwards can be
kept at cool temperatures and below.
• Most early colour film and colour prints should be in cold or sub-zero storage.
•Black and white prints can be stored at room temperature and below, depending
on condition.
4
ISO standards are published by the International Organization for Standardization. ISO standards
adopted as British Standards are given the prefix BS ISO.
Cold storage
The term cold storage can be used to describe temperatures below 16°C (cool)
but it is usually used to describe lower temperatures (cold and sub-zero). There
are two methods for storage at low temperatures. Either photographs can be
stored in a controlled open environment (cold/cool) such as a humidity-controlled
vault or they can be sealed in purpose-made enclosures and stored in freezers. At
lower temperatures it is more difficult and costly to control the higher RH, which
should be kept within the physically safe quadrant, defined in the diagram above.
Sealed enclosures provide microenvironments in which an appropriate RH can be
maintained. They usually have warning strips that indicate if the outer packaging
has been punctured and the RH has increased beyond the safe range. Sub-zero
storage is especially suitable for large quantities of photographs with a plastic base,
particularly early safety film (cellulose acetate)5 used for negatives (black and white
and colour) and transparencies (slides). These chemically unstable photographs can
be difficult to treat and conservation treatment of large quantities is not usually
practical. Ideally, access copies of original photographs should be made before they
are placed in sub-zero storage, but where substantial quantities of photographs are
deteriorating rapidly, it may be necessary to place them in subzero storage first and
remove small quantities at a time for copying. If originals need to be accessed they
should be acclimatised within their packaging before use. Provided photographs
are brought up to room temperature whilst in sealed packaging, the acclimatisation
to room temperature and replacing them in cold storage should not cause physical
damage, provided they are always packaged in a physically safe environment first
from cold storage will clearly lessen the advantage of the increased chemical stability
provided by cold storage.
Cellulose nitrate film – a warning
Cellulose nitrate film was produced extensively between 1889 and 1939 and
continued to be used up to c.1950 as a support for negatives, transparencies, x-rays
and motion picture film. Some cellulose nitrate motion picture film was used after
this date as old stock was used up. Cellulose nitrate film can be extremely dangerous
in certain circumstances, as it is highly flammable and can have a relatively
low temperature of ignition of 38oC when in poor condition and kept at that
temperature for extended periods. However, the issue of flammability should not
be confused with that of stability, which is generally good and much better than for
early cellulose acetate film. After all, cellulose nitrate was produced for many years
and used by many people satisfactorily. Small quantities in reasonable condition
stored at cool temperatures away from sources of heat (such as sunny windows
5
F or more information about safety film refer to Reilly, J. M., IPI Storage Guide for Acetate Film, 1993.
filmcare.org/pdf/acetate_guide.pdf
or hot water pipes) or sparks should not present a considerable risk. However, as
quantities increase, purpose-built storage needs to be provided with adequate fire
prevention. The greatest risk is with large amounts of densely packed material in
poor condition and very large quantities will require storage in a separate building.
There are considerable health and safety issues attached to any cellulose nitrate
collection and the specific requirements for their safe storage and handling should
be strictly adhered to, thereby avoiding unnecessary risks6.
Once cellulose nitrate begins to burn, it produces gases which catalyse further
decomposition and affect surrounding materials. Highly toxic fumes, as well as
smoke and heat, are produced very quickly. It can continue to burn where there is
no external source of oxygen. It is also worth noting that if the buildings or contents
are insured, the policy may prohibit the storage of cellulose nitrate film. If the
material is in very poor condition and beyond use contact the local authority or fire
brigade for advice on disposal7.
Air purity
A number of atmospheric pollutants are capable of oxidising silver in photographs.
These include ozone, peroxides, nitrogen oxides and sulphur-containing compounds
such as sulphur oxides and hydrogen sulphide. Air should be filtered, especially in
collections housed in industrial areas. Avoid using materials or equipment which
emit pollutants, certain paints and varnishes, photocopying machines, woollen
carpets and new wood. Building work and decoration can introduce contaminants,
and photographs should be removed from these areas until pollutants have fallen to
acceptable levels and the area has been thoroughly cleaned.
Light and display
In storage and display areas, lights should be fitted with UV filters. Ultra-violet
radiation is the most damaging type of light for photographic material. When
framing prints for display use UV filtered glass or polymethyl methacrylate e.g.
PerspexTM. Blinds and UV-filtering film can also be used to reduce light levels.
A light level of 50 lux is the maximum recommended display level and no
photographs should be exposed to light levels of more than 100 lux for extended
periods. Photographs should not be on permanent display, but should be rotated.
Particularly sensitive photographs should not be displayed at all. The materials used
for mounting display prints should conform to the same standards as the enclosure
materials.
6 R
 efer to NFPA 40: Standard for the Storage and Handling of Cellulose Nitrate Film, Quincy: National
Fire Protection Association, 2019
7 R
 efer to the HSE leaflet The dangers of cellulose nitrate film, London: Health and Safety Executive,
2013. hse.gov.uk/pubns/indg469.pdf
• Silver gelatin prints that have been processed according to instructions are
essentially stable at low light levels.
• Most 19th century photographs, particularly from the earliest years of
photography should not be displayed for long periods. The earliest photographs
were experimental in nature and may be unsuitable for display.
• Other materials which may be particularly susceptible to light damage include
early colour film and colour prints, cyanotypes and early resin coated prints.
Housing
Many types of housing are unsuitable for photographic storage and this is a
common cause of damage to photographs. Good quality storage materials are
available in paper, board and plastic and their use will significantly enhance the
longevity of photographs8.
Paper used for housing should:
• have a high alpha-cellulose content (above 87%).
• have a pH of 6.5-7.5.
• have an undetectable, reducible sulphur content.
• be free of lignin, pH buffers, metal particles, acid, peroxides and harmful sizing agents.
PhotonTM paper and Argentia paper are both made from 100% cotton fibre and are
particularly suitable for photographic storage. Museum boards, such as Heritage
TG Off White and Dull White can be used for framing and additional supports or
barriers. Unbuffered materials are generally considered the most appropriate for
photographs. Buffered box boards housing photographs protected by individual
unbuffered enclosures are unlikely to cause damage, provided the box boards fulfill
the other criteria listed above. The most widely accepted plastic material for use as
enclosures in conservation is inert polyester film e.g. Melinex® or Mylar®. Any plastic
used should be free of plasticiser, and the surface should not be glazed or coated.
Polyvinyl chloride (PVC) should not be used. Enclosures are available in a variety of
designs and many suppliers provide custom-made enclosures.
8 Many manufacturers test their products using the Photographic Activity Test (PAT) and advertise
storage materials which pass the PAT (ISO 18916:2007 Imaging materials. Processed imaging
materials. Photographic activity test for enclosure materials). Developed by the American National
Standards Institute (ANSI), the test determines whether or not a storage material will cause fading or
staining in photographs.
In addition, there is another more comprehensive standard BS ISO 18902:2013 Imaging materials.
Processed imaging materials. Albums, framing and storage materials which specifies the principal
physical and chemical requirements for album, storage and framing materials to prevent damage to
processed or printed imaging materials over time. Materials that are described as photo-safe should
meet the requirements of the International Standard ISO 18902:2013. Material which is PAT tested
alone is not necessarily photo-safe.
Different types of photographs should be stored separately to avoid physical and Photographs are complex objects that are easily damaged. Cleaning, consolidation9,
chemical damage. repair and flattening of photographs should only be carried out by an accredited
• Photographs with glass supports can be housed in four flap paper enclosures photographic conservator10. Certain procedures such as some minor cleaning and
stored vertically in boxes or in custom-made cabinets. re-housing can be undertaken after training by a conservator.
• Plastic black and white negatives and all film transparencies (slides) can be housed
in polyester sleeves stored in photographic storage boxes or in a hanging file Digitisation
system in metal cabinets. They can also be kept in purpose-made packaging in
Digitisation of historical photographs has become widespread. It is a useful means of
cold storage.
making photographs accessible and in many cases reducing handling of the original.
• Most black and white and colour prints can be housed in polyester sleeves using
However, it needs to be carried out with considerable planning to ensure that the
photographic conservation paper or museum board as a support if necessary.
historic photographs are not damaged by environmental changes or handling during
Sleeves should not be completely sealed; they should then be placed in
the process. The technology used needs to be the most appropriate. Digitisation can
photographic storage boxes or files. Prints with delicate surfaces, such as flaking
only ever represent part of the information contained in the original photographic
emulsion or lifting pigments should be stored in paper enclosures.
object and should not be considered a permanent cheap alternative to the care of
• Photograph albums were often made of poor quality materials leading to damage
the originals. It is almost certain that the originals, stored and used sympathetically
to the photographs. Albums also frequently have raised decoration on the
will last for longer than the digital technology needed to view the images.
bindings which is easily abraded. These should be stored in made-to-measure
drop-front boxes.

Polyvinyl chloride plastics, glassine envelopes, mechanical wood pulp papers

and old photographic suppliers’ boxes (although they may be of some interest
in themselves) are all unsuitable for photographic storage. If they are of historic
interest they should be stored separately from the photographs. Metal storage
furniture is preferable to wooden storage furniture. The metal should have a baked
enamel or powder-coated finish. Plastazote®, an inert polyethylene foam can be
used to line shelves or drawers in order to soften hard surfaces. While old wood
may be safe, new wood must be avoided, especially if it has been bleached or
freshly painted because it gives off harmful gases. Fragile material such as glass plate
negatives should not be stored on mobile shelving.

Conservation
Some types of deterioration and damage can be treated more satisfactorily
than others. Cleaning and structural repairs are the most common conservation
treatments. It is also common to remove materials that are causing damage or could
cause damage to photographs e.g. discoloured brittle paper negative enclosures,
and if necessary, replace them with appropriate materials. Appropriate materials
can also be used as barriers e.g. as inserts in a bound volume, manuscript or album
which is made of poor quality paper or when packing, mounting or framing a
photograph. This can make a considerable difference to the life of the photograph.
Mould damaged areas of a photograph can sometimes be treated to prevent further
deterioration but reconstruction of a mouldy image is usually not possible. It is not
possible to reverse fading and tarnishing in the original photograph without the risk
of further damage. Conservation is often accompanied by recommendations for
improvements in the storage environment, and for the safe use of the photographs.
9 Consolidation in this context is the reattachment of flaking or detaching emulsion.
10 A conservator accredited by Icon, the Institute of Conservation or the Archives and Records Association.
Online Resources Lavédrine, B, Photographs of the Past: Process and Preservation, Los Angeles: The Getty
Conservation Institute, 2009
Graphics Atlas
graphicsatlas.org Lenman, R, The Oxford Companion to the Photograph, Oxford: Oxford University Press,
2005
FilmCare
filmcare.org Museums and Galleries Commission, Standards in the Museum Care of Photographic
Collections, London: Museum, Libraries and Archives Council, 1996
Image Permanence Institute publications:
imagepermanenceinstitute.org/education/publications.html NFPA, NFPA 40 Standard for the Storage and Handling of Cellulose Nitrate Film, Quincy:
National Fire Protection Association, 2019
Adelstein, P Z, IPI Media Storage Quick Reference, Rochester: Image Permanence Pénichon, S, Twentieth-Century Color Photographs: Identification and Care, Los Angeles:
Institute, 2009 The Getty Conservation Institute, 2013
Reilly, J M, IPI Storage Guide for Acetate Film, Rochester: Image Permanence Institute, Reilly, J, Care and Identification of 19th-Century Photographic Prints, Rochester: Kodak,
1993 1986
Reilly, J M, Storage Guide for Color Photographic Materials, New York: The University of Stevenson, S, and A.D. Morrison-Low, Scottish Photography: The First Thirty Years,
the State of New York, 1998 Edinburgh: National Museums Scotland, 2015
Valverde, M F Photographic Negatives: Nature and Evolution of Processes, Rochester: Wilhelm, H, Brower, C, Permanence and Care of Color Photographs: Traditional and Digital
Image Permanence Institute, 2004 Color Prints, Color Negatives, Slides, and Motion Pictures, Grinnell: Preservation Publishing
Company, 1993
Additional Reading
Baldwin, G and Jurgens M, Looking at photographs: a guide to technical terms, Los Preservation guidance series
Angeles: Getty Publications, 2009 Basic preservation of books and documents
Ball, S et al, The care of photographic materials and related media: guidelines on the care, Building a preservation policy
handling, storage and display of photography, film, magnetic and digital media, London: Caring for damaged books
Museums and Galleries Commission, 1998
Cleaning books and documents
BS ISO 18902:2013 Imaging materials. Processed imaging materials. Albums, framing and
Funding preservation and conservation projects
storage materials, London: British Standards Institution, 2013
Handling library and archive collections
BS ISO 18911:2010 Imaging materials. Processed safety photographic films. Storage
practices, London: British Standards Institution, 2010 Library and archive storage furniture
BS ISO 18916:2007 Imaging materials. Processed imaging materials. Photographic activity Managing pests in paper-based collections
test for enclosure materials, London: British Standards Institution, 2007 Managing the library and archive environment
BS ISO 18918:2000 Imaging materials. Processed photographic plates. Storage practices, Mould in library and archive collections
London: British Standards Institution, 2000 Moving library and archive collections
BS ISO 18920:2011 Imaging materials. Reflection prints. Storage practices, London: British Preservation of photographic material
Standards Institution, 2011
Salvaging library and archive collections
BS ISO 18929:2012 Imaging materials. Wet-processed silver-gelatin type black-and-white
photographic reflection prints. Specifications for dark storage, London: British Standards Understanding and caring for bookbindings
Institution, 2012
BS ISO 18934:2011 Imaging materials. Multiple media archives. Storage environment, The information in this booklet is offered free of charge by the British Library for non-commercial use.
London: British Standards Institution, 2011
Jurgens, M C, The digital print: identification and preservation, Los Angeles: The Getty
Conservation Institute, 2009
Lavédrine, B, Preventive Conservation of Photographic Collections, Los Angeles: The Getty
Conservation Institute, 2003
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